A GUIDE 


TAPESTRY  PAINTING 


AND 


STENCILING 


LIQUID  TAPESTRY  DYES 

AND 

TAPESTRY  OIL  COLORS 


Published  by 


F.  WEBER  & CO. 


PHILADELPHIA 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/guidetotapestrypOOfweb 


A GUIDE  TO 


TAPESTRY  PAINTING 

AND 

STENCILING 

IN 

LIQUID  TAPESTRY  DYES 

AND 

TAPESTRY  OIL  COLORS 

WITH  A FULL  LIST  OF  THE  MATERIALS  USED  AND 
ILLUSTRATIONS  OF  THE  STENCIL  PATTERNS 


PRICE  PER  COPY  50  CENTS 


PUBLISHED  BY 

F.  WEBER  & CO. 


PHILADELPHIA 


INTRODUCTORY. 

Owing  to  the  growing  demand  for  stencil  supplies  and 
the  constant  inquiries  for  a guide  to  the  work,  we  are  pre- 
senting this  hand-book  to  those  who  are  interested  in  home: 
decorations,  that  are  artistic  and  economical. 

Full  directions  are  given  for  stenciling  in  tapestry  dyes 
or  in  tapestry  oil  colors,  as  well  as  directions  for  tapestry 
painting. 

Part  I.  of  this  book  treats  on  making  stencils  from 
designs  and  also  stenciling  with  the  liquid  dyes,  fixing  the 
colors  by  steaming,  and  washing  of  the  finished  product 
when  soiled. 

Part  II.  is  devoted  to  the  use  of  tapestry  oil  colors 
•and  their  use  in  stenciling. 

Part  III.  Gives  full  directions  for  tapestry  painting. 

Part  IV.  Contains  a full  and  complete  list  of  ma- 
terials to  be  used,  and  an  excellent  illustrated  line  of  stencil 
patterns  to  select  from,  making  it  a special  hand-book  for 
household  needs. 

PART  I. 

Directions  for  Making  Stencils. 

The  paper  to  be  used  for  stencils  is  a heavy,  smooth 
manilla  paper  of  good  quality,  saturated  with  linseed  oil  in 
order  to  make  it  more  resistent  to  the  liquid  dyes  or 
tapestry  oil  colors.  Furthermore  it  gives  a cleaner  and 
sharper  edge  in  cutting  the  stencil,  but  for  the  trouble  con- 
nected with  the  preparation  of  this  paper,  it  is  advisable  to 
buy  the  oiled  paper  from  the  dealer.  Transfer  the  design  on 


3 


d paper,  by  means  of  carbon  paper,  allowing  for,  and 
arking  the  brackets,  or  ties,  to  hold  the  pattern  in  place, 
hese  ties  should  be  placed  where  they  will  be  the  least 

conspicuous. 

Vfter  the  design  has  been  transferred  on  the  oiled 
p iper,  place  the  oiled  paper  over  a sheet  of  glass  and  cut 
it  with  a stencil  knife,  turning  the  design  always  so  that 
the  knife  is  working  toward  the  operator.  Care  must  be 
taken  that  the  ties  or  brackets  above  mentioned  are  not  cut 
through  in  the  stencil.  The  cutting  of  the  stencil  being 
>t ne what  tedious  and  strenuous,  it  is  advisable  to  buy  the 
irne  ready  cut.  A special  assortment  of  stencils  suitable 
tor  any  kind  of  decoration  may  be  found  in  Part  IV  of 
this  book. 

I > ■ ia "i'll  > .vs  for  Stenciling  with  Liquid  Tapestry  Dyes- 

We  recommend  these  dyes  to  the  beginner  because 
do  not  require  a mixing  medium,  thus  rendering  them 
< v to  apply.  Care  must  be  exercised  that  the  dyes  be 
applied  very  sparingly  to  avoid  blurring  the  pattern. 

Place  the  fabric  to  be  stenciled  [noting  carefully  that 
the  weave  of  the  fabric  is  not  pulled  or  stretched,  so  that  the 
weave  *f  the  fabric  is  biased]  on  a work-table,  with  a sheet 
• f heavy  blotting  paper  underneath.  Fasten  the  stencil  in 
on  the  material  by  means  of  thumb  tacks  holding  all 
securely  in  place. 

Pour  out  the  dye  in  a small  dish  and  dip  the  brush 
sparingly  into  the  same.  Then  remove  all  superfluous  dye 
f :n  the  brush,  by  rubbing  the  same  against  the  edge  of 
-the  dish.  This  fact  must  be  emphasized,  otherwise  the  color 


4 


will  spread.  Hold  the  brush  in  a vertical  position  and  put 
the  dye  on  the  fabric  in  a stippling  motion,  allowing  the 
same  to  work  into  the  cloth  thoroughly.  Care  should  be 
exercised  that  the  stencil  be  held  down  tight  with  the  left 
hand,  while  stenciling,  in  order  to  give  a close  contact  with 
the  fabric,  always  using  the  brush  from  outer  edges  and 
points  toward  centers.  After  the  design  has  been  stenciled 
on  the  fabric,  the  stencil  may  be  removed  and  the  pattern 
continued  if  so  desired. 

When  the  stenciling  is  finished,  hang  up  to  dry  for  four 
or  five  days,  then  take  down  and  steam  as  directed. 
The  Liquid  Tapestry  Dyes  are  greatly  used  in  tapestry 
painting,  as  the  colors  mix  and  blend  readily,  and  are  easily 
applied,  because  of  the  fact  that  no  medium  is  required.  The 
Liquid  Dyes  give  an  excellent  transparency  to  the  colors. 

The  brushes  should  be  cleaned  in  cold  water  after  fin- 
ishing with  the  dyes  and  while  they  are  still  wet,  otherwise 
wash  with  soap  and  water. 

The  Tapestry  Dyes  as  prepared  by  F.  Weber  & Co.  and 
listed  on  page  52  of  this  book  are  prepared  in  a manner  to 
make  them  waterproof  and  prevent  their  spreading,  hence 
the  addition  of  a special  medium  recommended  with  other 
dyes  is  unnecessary. 


A Process  to  Fix  the  Colors.  Directions  for 
Steaming. 

Place  the  stenciled  article  (after  drying  for  four  or 
five  days)  on  an  ironing  board  face  up  and  cover  with  a 
heavy  wet  pad,  and  press  with  a hot  iron  until  the  design  is 

5 


thoroughly  dryed  and  steamed.  This  steaming  process  fixes 
the  colors  permanently  and  adds  to  their  brilliancy.  If  the 
stenciled  fabric  is  too  large  and  difficult  to  steam  on  an  iron- 
ing board,  we  would  suggest  having  this  done  at  a reliable 
dyer’s  establishment,  or  if  this  is  not  convenient,  to  secure 
one  of  the  steaming  apparatus  given  in  our  list.  The  steam- 
ing is  always  necessary  in  all  cases,  whether  the  design  is 
made  with  the  “Liquid  Dyes”  or  in  the  “Tapestry  Oil 
Colors.”  In  any  case  is  administered  according  to  directions. 

PART  II. 

Stenciling  with  Tapestry  Oil  Colors. 

Although  the  art  of  stenciling  with  oil  colors  is  not  new, 
the  difficulty  the  artist  found  heretofore  in  using  the  ordinary 
artist  oil  colors,  was,  that  these  colors  if  not  especially  pre- 
pared for  this  purpose,  would  spread  on  the  fabric  and  leave 
ugly  stains  around  the  design.  By  a series  of  experiments, 
we  have  succeeded  in  overcoming  this  difficulty  by  preparing 
a palette  of  well-selected  permanent  colors,  ground  in  a 
special  prepared  oil,  which  offers  an  easy  application  to  the 
fabric,  while  at  the  same  time  these  colors  will  not  spread. 

For  thinning  down  or  reducing  the  tints  of  these  “Tap- 
estry Oil  Colors,”  we  manufacture  a special  oil  called  “Tap- 
estry Painting  Oil.”  This  oil  or  medium  as  well  as  the  oil 
colors,  contain  sufficient  drying  qualities  to  make  the  addi- 
tion of  any  other  dryer  unnecessary. 

These  Tapestry  Oil  Colors  are  made  up  in  a number  of 
colors  from  which  any  desired  tint  can  be  produced  by 
mixing. 


6 


Being  more  consistent,  it  is  safe  to  say  that  a more 
thorough  working  of  the  colors  into  the  mesh  of  the  fabric 
is  necessary,  and  after  drying  for  four  or  five  days,  must 
be  steamed  as  per  directions  given  for  steaming  the  Liquid 
Dyes  in  Part  I of  this  book. 

When  used  for  stenciling  these  colors  are  mixed  with 
the  “Tapestry  Painting  Oil”  to  the  consistency  of  cream,  and 
put  on  the  cloth  with  a stippling  stroke  and  thoroughly 
worked  into  the  mesh.  The  directions  for  stenciling  fabrics 
with  “Liquid  Dyes”  in  Part  I can  be  followed  in  using  the 
“Tapestry  Oil  Colors.”  After  the  design  has  been  stenciled 
with  Tapestry  Oil  Colors  and  allowed  to  dry  for  five  or  six 
days,  the  directions  for  steaming  must  be  followed  to  fix  the 
colors  permanently. 

For  cleaning  the  brushes  used  in  the  Tapestry  Oil 
Colors,  spirits  of  turpentine  should  be  used. 


PART  III. 

Tapestry  Painting. 

The  Tapestry  Oil  Colors  as  has  been  previously  ex- 
plained are  especially  prepared  for  tapestry  painting.  The 
Tapestry  Painting  Oil  or  medium  is  an  excellent  prepa- 
ration for  blending  colors  and  also  for  reducing  tints.  The 
oil  prepared  for  these  colors,  saturates  the  canvas  very  read- 
ily, thereby  giving  the  colors  a chance  for  ready  response 
and  an  easy  flow,  which  eliminates  so  much  of  the  work  of 
moistening  the  canvas,  each  time  a color  is  to  be  blended. 


7 


Another  most  excellent  feature  of  these  colors,  is,  that  in 
painting  tapestry,  only  a few  colors  are  required,  as  many 
of  the  colors  can  be  produced  satisfactorily  by  mixing,  and 
a closer  harmony  is  usually  the  result.  These  tapestry  paint- 
ings should  be  steamed  if  done  on  linen,  cotton,  wool,  or  silk, 
just  as  directions  given  for  steaming  in  Part  I.  The  steam- 
ing effect  on  tapestry  paintings  tends  to  soften  harsh  or  vivid 
colorings,  and  gives  the  whole  a rich,  soft,  harmonious  ap- 
pearance, which  is  always  very  gratifying  to  the  painter  as 
well  as  to  the  observer.  Much  depends  upon  the  manner  of 
scrubbing  the  colors  in  the  fabric,  if  not  properly  moistened, 
the  canvas  will  dry  in  spots.  When  painting  skies  and  the 
deepest  shade  of  blue  has  been  taken  as  far  as  necessary, 
dilute  this  color  with  Tapestry  Painting  Oil  and  carry  on  as 
far  as  desired,  then  with  a clean  brush  wet  the  canvas  a 
little  below  the  horizon  line,  with  the  medium  and  water, 
soaking  it  just  as  though  using  colors,  and  if  a sunset  is 
desired,  prepare  a pale  shade  of  Yellow  and  also  some  Crim- 
son Lake,  in  a separate  mixing  cup  by  reducing  them  with 
the  painting  oil.  As  the  latter  color  is  quite 
strong,  great  care  must  be  taken  in  using  it. 
Begin  below  the  horizon  line  to  paint  in  the  Yellow. 
Do  not  carry  this  tint  as  far  as  the  Blue.  Next  paint  the 
Crimson  lake  into  the  Yellow,  blending  it  into  the  Blue.  This 
will  give  the  purple  effect  so  often  seen  in  sunset  skies. 
Should  there  be  distant  trees  or  mountains,  the  sunset  colors 
must  be  carried  over  these  also.  The  sky  should  be  finished 
at  one  sitting,  and  while  wet,  more  color  may  be  added  for 
strengthening  if  necessary,  but  will  not  blend  properly  if 
allowed  to  become  dry  before  repainting.  After  the  sunset 


8 


colors  are  laid  on  the  mountains  and  distant  foliage  is  half 
dry,  so  that  the  tints  laid  over  it  will  not  spread,  then  with 
the  Crimson  Lake  and  Blue,  which,  if  mixed  and  diluted 
properly  with  the  painting  oil,  to  a pale,  purplish  shade,  paint 
in  the  mountains  and  leave  space  for  forms  of  distant  trees. 
It  is  possible  to  put  in  trees  and  mountains  after  the  canvas  is 
dry,  but  the  same  soft  atmospheric  effects  do  not  result  from 
a dry  canvas  as  from  a moist  one.  When  putting  in  details, 
such  as  rocks,  stone  work,  or  tree  trunks,  it  is  well  to  first 
block  in  the  drawing  with  Gray.  When  dry  put  on  painting 
palette,  a little  Yellow,  Crimson  lake,  Indigo  and  Green, 
with  a little  touch  of  Burnt  sienna.  Have  some  oil 
and  water  ready  mixed,  then,  with  a large  brush,  blend  all 
these  tints  on  the  stone  work,  putting  it  into  a fresh  color. 
Of  course,  care  must  be  taken  not  to  make 
each  color  so  strong  as  to  be  actually  discernible 
after  modeling  over  with  the  Gray.  A little  Green 
may  be  introduced  in  parts  to  give  the  appearance  of 
moss.  For  grass  and  foliage  a variety  of  coloring  in  greens 
and  browns  must  be  blended  together,  as  the  ground  work 
and  the  details  are  put  on  afterwards  in  blues  and  greens. 

In  painting  water,  the  brush  should  be  used  back- 
wards and  forwards  horizontally  in  broad  strokes.  What- 
ever colors  are  used  in  the  skies  or  objects  casting  reflections, 
must  be  repeated  in  the  water,  but  the  strokes  must  be  modi- 
fied by  grays  or  browns.  The  distant  shadows  must  be  a 
softer  gray  (or  what  is  known  as  cool  gray),  than  the 
shadow  of  the  foreground.  Sharp,  bright  ripples  can  be 
taken  out  with  a knife  before  making  final  touches. 


9 


Flesh  Painting. 


For  flesh  painting  there  is  a very  simple  method,  which 
requires  very  little  practice  to  acquire  satisfactory  results, 
as  the  colors  used  are  so  few. 

The  four  following  colors  are  all  that  are  needed : 
Burnt  sienna,  Vermilion,  Kings  yellow  and  Indigo.  No 
other  colors  are  really  needed. 

The  brushes  for  flesh  painting  should  be  kept  separate 
as  everything  depends  on  their  being  clean.  They  can 
be  cleaned  with  turpentine  when  necessary.  Begin  by  mix- 
ing two  shades  of  Burnt  sienna  on  the  palette,  put  in  the 
details,  eyes,  nostrils,  lips,  ears  and  fingers,  strongly  and 
clearly,  with  the  darkest  shades,  using  smallest  brush.  With 
the  largest  brush,  paint  in  the  broad  shadows  with  the  paler 
shade  of  Burnt  sienna.  The  features  may  be  modeled  as  if 
in  working  in  monochrome,  leaving  all  high  lights  untouched. 
If  the  eyes  are  brown  they  are  to  be  put  in  with  Burnt  sienna. 
After  the  modeling  is  thoroughly  dry,  the  local  tone  or  color 
is  washed  over  all  the  flesh,  including  shadows  with  the 
Burnt  sienna,  so  much  diluted  with  the  “Tapestry  Painting 
Oil”  as  merely  to  tinge  the  Medium,  which  should  be  added. 
For  a dark,  sallow  complexion  add  a touch  of  Yellow  to 
the  Burnt  sienna.  While  this  local  wash  is  still  wet  it 
should  be  soaked  with  the  color  until  the  canvas  is  satu- 
rated. The  shadows  must  be  counteracted  with  green, 
the  bright  grass  green  being  best.  Make  two  shades 
of  this  green  of  about  the  same  intensity  as  the  Burnt 
sienna.  Before  applying  the  green,  tint  the  cheeks  with  the 
Vermilion.  The  green  must  not  be  allowed  to  run  beyond 


10 


the  shadow  color,  as  it  will  give  a death-like  pallor  to  the 
flesh.  If  the  red  or  Vermilion  drys  too  vividly,  add  more 
green.  On  the  other  hand  if  the  green.is  too  strong,  work  in 
more  Burnt  sienna.  The  sharp,  dark  markings  must  not  be 
painted  until  nearly  dry,  or  the  color  will  spread.  A little 
touch  of  Vermilion  will  be  needed  on  the  lower  lip.  When 
the  flesh  is  thoroughly  dry,  which  will  require  several  hours, 
the.  high  lights  may  be  placed  by  scraping  gently  with  the 
rounded  point  of  a knife.  The  effect  is  very  pleasing  as  the 
color  lifted  by  the  knife  is  only  on  the  surface,  and  leaves 
the  color  between  the  ribs  of  the  canvas,  making  a stippled 
appearance.  After  scraping  the  lights,  put  on  the  palette  the 
flesh  tints,  already  described.  Make  another  tint  by  mixing 
the  green  and  red  together,  to  be  used  in  touching  up  the 
painting.  The  markings  of  the  eyes,  ears,  lips,  nostrils,  and 
fingers  must  be  accentuated.  The  use  of  the  knife  between 
the  shadows  and  the  high  lights  give  the  pearly  tints  re- 
quired for  softening  the  flesh  tones  and  blends  the  lights 
and  shadows. 

Painting  Hair. 

The  painting  of  hair  must  be  laid  in  broad  masses  of 
light  and  shade.  For  golden  hair,  the  local  tint  is  composed 
of  a pale  shade  of  Yellow  with  a touch  of  Vermilion  in  it,  to 
give  it  the  tawny  effect,  peculiar  to  golden  hair. 

The  shadows  can  be  made  by  mixing  Blue  and  Yellow 
and  adding  Vermilion,  if  too  green.  With  these  colors  any 
shade  can  be  made,  from  light  flaxen  to  rich  golden  brown, 
by  changing  the  proportion  of  component  parts.  For  dark 
hair  shade  with  brown,  only  adding  a little  indigo  or  black, 
if  nearly  black  hair  is  desired. 


11 


Details  can  be  worked  in  after  the  first  color  is  dry, 
using  the  knife  for  high  lights. 

Drapery. 

Model  all  shadows  before  putting  in  local  tints. 

After  the  shadows  are  put  in,  first  the  darkest  shadow, 
the  next  tones  may  be  laid  in,  leaving  the  delicate  half 
tones  to  be  added  when  the  local  wash  is  partly  dry.  Local 
tint  is  laid  over  both  light  and  shade,  and  needs  only  a few 
finishing  touches,  scraping  out  lights  where  they  are  not 
sufficiently  bright.  Ordinarily,  reds  should  not  be  scraped, 
as  scraping  on  the  rich  reds  tends  to  make  the  high  lights 
too  cool. 

Any  kind  of  texture  can  be  reproduced,  if  careful  atten- 
tion is  paid  to  where  the  lights  fall,  whether  soft  or  sharp. 


Directions  for  Washing. 

Shake  the  stenciled  fabric  up  and  down  in  warm  soap 
suds,  using  only  a mild  soap.  Do  not  rub  any  soap  on  the 
fabric.  Rinse  well  and  hang  in  shade  to  dry.  Iron  while 
still  damp,  following  the  process  given  in  directions  for 
steaming. 


MATERIALS. 

Suggestions  About  Materials  Used  in  Stenciling  and 
Tapestry  Painting. 

The  brushes  to  be  used  in  stenciling  should  be  chosen 
with  care.  We  carry  four  styles  of  brushes,  that  meet  the 
approval  of  the  most  fastidious. 


12 


The  Bright’s  Bristle  No.  193  is  a flat  brush,  of  short 
bristles  of  excellent  quality  and  made  in  12  sizes,  from  Nos. 
2-24,  varying  from  J4  to  1 inches. 

The  French  Bright’s  Bristle  Brushes  are  very  similar  in 
make,  with  the  exception  that  the  bristles  are  a trifle  shorter. 
These  flat  brushes  are  excellent  for  the  conventional  designs 
where  the  patterns  are  large  and  bold.  The  chiseled  and 
slanting  pointed  Tapestry  Brush  is  a superior  brush,  where  a 
fine  point  is  desired  for  sharp  corners  and  fine  lines  in  sten- 
ciling, and  especially  adapted  to  the  fine  detail  work  in  tap- 
estry painting.  These  brushes  come  in  four  sizes,  % in.,  ^4 
in.,  in.,  in.,  in  width.  The  “Poonah”  Brushes  are  by 
far  the  best  brushes  on  the  market,  where  round 
brushes  are  desired  for  large  designs.  These  brushes 
come  in  four  sizes,  varying  from  J4  in.  to  ^n- 
in  diameter,  and  are  also  used  in  tapestry  paint- 
ing. The  fabrics  used  for  stenciling  are  burlap,  unprepared 
canvas,  cotton,  crash,  voile,  scrim  and  unbleached  muslin. 

There  are  especially  prepared  for  stenciling  and  tap- 
estry painting,  canvases,  in  cotton,  wool  and  silk,  at  prices  to 
suit.  The  adjustable  blade  stencil  knife  is  best  adapted  for 
schools  or  private  individuals  who  wish  a superior  mat 
knife  in  quality  and  style.  These  knives  may  be  changed  by 
simply  loosening  the  screw  in  the  handle  and  pulling  out 
blade.  The  blades  can  also  be  protected  when  not  in  use, 
by  inverting  blade  into  handle  and  screwing  in  place  again. 
F^ach  knife  has  its  own  key. 


13 


§>t?nril  SrarjttB 


cgg^as^S$» 


f rir?  Ktat  of  idrurtl  feigns 

Cut  By  Hand  on  the  Best  Quality  Manilla  Paper 


The  sizes  given  of  the  Stencils  for  Borders,  etc.,  represent  the  width 
of  the  same.  With  Corners  and  Larger  Center  Designs  the  size  given 
represents  the  radius  of  the  same. 


No. 

Price 

Size  in 
Inches 

No. 

Price 

Size  in 
Inches 

No. 

Price 

Size  in 
Inches 

1 

$ .30 

3/ 

59 

$ .72 

15 

109 

$ .20 

13/ 

2 

.50 

8/ 

60 

.62 

16 

110 

.25 

5/ 

3 

.20 

3 

66 

.37 

9/ 

111 

.30 

3/ 

4 

.25 

3 

67 

.60 

8 

112 

.20 

2 

6 

.20 

2 

68 

.35 

7/ 

113 

.25 

3/ 

10 

.25 

6/ 

69 

.20 

4/ 

114 

.25 

4 

11 

.25 

11 

70 

.20 

5 

115 

.30 

7/ 

13 

.50 

6/ 

71 

.20 

4 

116 

.25 

6/ 

14 

.60 

9/ 

72 

.20 

33/ 

117 

.25 

5 

17 

.20 

3/2 

73 

.20 

33/ 

118 

.40 

6 

18 

.20 

3/ 

74 

.20 

23/ 

119 

.30 

4/ 

20 

.25 

33/ 

75 

.20 

23/ 

120 

.30 

33/ 

24 

.25 

23/ 

76 

.20 

23/ 

121 

.40 

6/ 

26 

.30 

5/ 

83 

.40 

9 

122 

.50 

3/ 

29 

.36 

7/ 

86 

.30 

83/ 

123 

.72 

6/ 

31 

.36 

6/ 

87 

.72 

16 

124 

.50 

7 

35 

.20 

1/ 

88 

.30 

4/ 

125 

.35 

4/ 

38 

.20 

3 

93 

.40 

13 

126 

.60 

6/ 

40 

.20 

13/ 

95 

.36 

53/ 

127 

.30 

2/ 

41 

.20 

2/ 

96 

.36 

5/ 

128 

.35 

5/ 

45 

.30 

6/ 

97 

.36 

5/ 

129 

.30 

23/ 

46 

.70 

16 

98 

.40 

8/ 

130 

.35 

3 

47 

.50 

16/ 

99 

.40 

8/ 

131 

.72 

63/ 

48 

.30 

6 

100 

.40 

11/ 

132 

.20 

1/ 

49 

.40 

11 

102 

.36 

6/ 

133 

.20 

3/ 

53 

.60 

16 

103 

.50 

12 

134 

.20 

3/ 

54 

.25 

43/ 

104 

.35 

3/ 

135 

.20 

1/ 

55 

.60 

16 

105 

.30 

7 

136 

.20 

1/ 

56 

.50 

10 

106 

.35 

33/ 

137 

.30 

4/ 

57 

.72 

15/ 

107 

1.20 

10/ 

138 

.30 

3/ 

58 

.40 

9 

108 

.30 

23/ 

139 

.20 

2 

15 


PRICE  LIST  OF  STENCIL  DESIGNS  ( Continued  ) 


No. 

Price 

Size  in 
Inches 

No. 

Price 

Size  in 
Inches 

No. 

Price 

Size  in 
Inches 

140 

$ .50 

7 

186 

$ .36 

4/ 

227 

$ .25 

5/ 

141 

.36 

6/ 

187 

.36 

4 

228 

.80 

12 

142 

.36 

4/ 

188 

.36 

5/ 

229 

.30 

7 

143 

.25 

2 

189 

.72 

7/ 

230 

.25 

3/ 

144 

.20 

2 / 

190 

.72 

7/ 

231 

.25 

3 

145 

.36 

6 

191 

1.20 

23 

232 

.25 

6 

147 

.30 

4 

192 

.60 

11 

233 

.20 

4/ 

148 

.30 

4 

193 

.25 

3/ 

234 

.20 

6/ 

149 

.42 

8 

194 

.20 

5/ 

235 

.42 

12 

152 

.42 

6 

195 

.60 

16 

236 

.30 

8/ 

153 

.60 

5 

196 

1.20 

19 

237 

.30 

154 

.25 

2/ 

197 

.50 

14/ 

238 

.25 

7 

155 

.25 

23/8 

198 

.60 

19 

239 

.20 

6 

156 

.30 

3 

199 

1.20 

93/ 

240 

.20 

4 

157 

.20 

23/ 

200 

.20 

3 

241 

.20 

4 

158 

.30 

2/ 

201 

.36 

4 

243 

.25 

6 

160 

.60 

6/ 

202 

.20 

4/ 

244 

.30 

13 

161 

.42 

. 7/ 

203 

.60 

16 

245 

.30 

3 

162 

.50 

8/ 

204 

.36 

23/ 

246 

.42 

9/ 

163 

.20 

3 

205 

.20 

4/ 

248 

.60 

11x23 

164 

.20 

2/ 

206 

.20 

4 

249 

.30 

7 

165 

.25 

2/4 

207 

.30 

7/ 

251 

.90 

16/ 

166 

.25 

2 

208 

.30 

7/ 

252 

.60 

16/ 

167 

.20 

2/ 

209 

.65 

7/ 

253 

.42 

4 

168 

.36 

7 

210 

.36 

4/ 

254 

.90 

10/ 

169 

.20 

2/ 

211 

.36 

4/ 

255 

.50 

6 

170 

.20 

23/ 

212 

.20 

3/ 

256 

.80 

11 

171 

.30 

23/ 

213 

.30 

3 

257 

.36 

4/ 

173 

.30 

6 

214 

.20 

3/ 

258 

.80 

10 

174 

.42 

3/ 

215 

.20 

3 

259 

.30 

6/ 

175 

.36 

5/ 

216 

.25 

3/ 

260 

.50 

5/ 

176 

.30 

10/ 

217 

.25 

2/ 

261 

.30 

5/ 

177 

.25 

3/ 

218 

.20 

2/ 

262 

.30 

11/ 

178 

.42 

53/ 

219 

.90 

16 

263 

.55 

12/ 

179 

.30 

2/ 

220 

. 50 

9 

264 

.42 

10/ 

180 

.36 

6 

221 

.42 

6/ 

265 

.60 

14 

181 

.30 

4/ 

222 

.42 

5 

266 

.50 

13 

182 

.50 

13 

223 

.25 

3 

267 

.42 

9 

183 

.50 

13 

224 

.50 

5/ 

268 

.60 

14x19 

184 

.50 

9 

225 

.36 

7 

269 

.36 

4/ 

185 

.50 

13 

226 

.36 

5/ 

270 

.90 

14 

16 


PRICE  LIST  OF  STENCIL  DESIGNS  ( Continued ) 


No. 

Price 

Size  in 
Inches 

No. 

Price 

Size  in 
Inches 

^ No. 

Price 

Size  in 
Inches 

271 

$ .60 

9 

297 

$ .25 

25/4 

313 

$ .60 

1054 

273 

.30 

m 

298 

.20 

3 

314 

.50 

10 

274 

.55 

iey2 

300 

.50 

854 

315 

.50 

954 

276 

1.05 

17 

301 

.50 

sy2 

316 

.42 

8 

278 

.30 

354 

302 

.36 

sy2 

317 

.50 

10 

279 

.60 

6 

303 

.30 

5 54 

318 

.42 

7 

280 

.90 

18 

304 

.25 

254 

319 

.72 

9 

281 

.72 

16 

305 

.42 

320 

.50 

554 

282 

.42 

5 

306 

.50 

9 

321 

.60 

286 

.60 

307 

.42 

6 

322 

.60 

15 

289 

.30 

3 

308 

.42 

93,4 

323 

.50 

11 

290 

.60 

7 

309 

.25 

254 

324 

.50 

10 

291 

.42 

310 

.50 

8 

325 

.25 

854 

292 

.50 

311 

.50 

8 

326 

.20 

654 

294 

.60 

7 

-312 

.36 

854 

327 

.50 

754 

296 

.25 

254 

17 


^tntril  Designs 

In  Reduced  Sizes 

For  Description  and  Price,  see  pages  15-17 


18 


19 


297 

/MWaWaWaWaWaWaWaVAS 

VMVMVjVMVMVM^VlVMViVjJ 

0/«  r 


20 


21 


22 


23 


24 


25 


217 

.%  rirri^  rii~  zi'z  rfr  r1/,  rrr  ri^  rir. 
if.  z I ~+£:-r+  ii.  ~ I i?:zr+  i?.  zn 

226 

iMiMiaaiBaBtHaaHaaaHi 

* * * * 


P 


26 


27 


28 


29 


322-15’" 


30 


31 


32  0-5'K'" 


3 2 7-  7 7x‘n 


32 


33 


34 


\*/  \*/  \*/*\»/  \*/\*/  \*/\*s  UkJ 

♦/♦\*/*\*/*\*/*\*/»\*/»\*/*\*/*\  i x I 


*\*/*\*/*\*S*\*/*\*/’*\*/*\»/*\*/  ^1.1 

♦/♦\*/*\*/»\*/*\*/*\*/*\*/*\*/»\  r LA* 

•>  <**•«*  • - I fi  a 

♦ ♦ f ♦ ♦ ♦ ♦ ♦ 3 I B I 

32\- 


• • • « • • 

ct^>  cts*>  ct^,  ct^  ct^>  ct^>  t 

-'Vs — — v — v — /*v — v — 
9--Vn 


* ^ t t ^ ^ 

m-sv* 

♦ ♦♦♦♦♦ 

**4£cXf=2' 

289-  3'n 


35 


Driiujns  in  Hinr  friuts 


«SS^as^SS> 


iratgtta  tn  IGtttr  flrmts 


The  following  designs.  Nos.  500  to  535  inclusive,  are  only  fur- 
nished in  line  prints,  as  the  nature  of  the  designs  will  not  admit  of 
cutting  the  same  into  stencil  form.  As  the  designs  are  however, 
well  adapted  for  Tapestry  Decoration,  we  have  concluded  to  add 
the  same  to  our  list  of  Stencils. 

For  copying  or  transferring  the  same,  ordinary  red  or  other 
suitable  color  Transfer  Paper  can  be  used,  or  the  designs  can  be 
furnished  perforated  at  an  additional  cost  of  25  per  cent,  to  their 
prices. 

Note. — In  order  to  save  space,  a number  of  the  illustrations  in 
this  lost  show  only  part  of  the  design,  but  are  furnished  in  full  size. 


No.  500 

Curtain 

. . . .14  x 18  inches  high 

. $ .35 

it 

501 

Pillow  

....18x21  “ “ 

. .40 

it 

502 

Curtain  Corner 

15  x 15  “ 

.40 

it 

503 

tt  tt 

. .35 

“ 

504 

it  a 

. .20 

it 

505 

"Rook  Cover  

6%  x 10  “ 

.25 

it 

507 

Pillow  Top 

. .50 

it 

508 

it  tt 

. .40 

“ 

509 

Screen  

13  x 23  “ 

.40 

510 

Pillow  Top 

13  x 14  “ 

. .35 

“ 

511 

Border  

. .25 

« 

512 

tt 

6 “ “ 

.20 

it 

513 

tt 

12  “ “ 

.30 

it 

514 

it 

...  10  “ “ 

.25 

a 

515 

it 

6 “ “ 

.20 

it 

516 

it 

2Va  “ “ 

.15 

it 

517 

it 

4 “ “ 

.15 

« 

518 

tt 

6 “ “ 

.20 

« 

519 

it 

. .20 

« 

520 

Curtain  Cover 

18  x 15  “ “ 

.40 

it 

521 

Screen  

8 x 16^  “ “ 

.30 

tt 

522 

Pillow  Top 

....  16J4  x \6l/2  inches  wide . . 

. .40 

“ 

523 

Panel  for  Border  . . . 

....  7 x 27  “ “ .. 

. .30 

it 

524 

tt  it  it 

....  7 x 27  “ “ . . 

. .30 

a 

525 

Table  Top  

....20^2  inches  wide 

. .45 

37 


DESIGNS  IN  LINE  PRINTS  (Continued 


No. 

526 

Border  

. 1 inch  wide 

. $ .10 

a 

527 

Border  for  Round  Table . 

.21  “ “ 

.35 

u 

527a 

Centre  for  Tahle  

. 3 “ “ 

.10 

528 

Border  “ “ 

■ 1 7y>  inches  wide 

. .30 

it 

529 

Screen  

.12  x 22  inches 

. .40 

u 

530 

Emblems 

. 3 x 6y2,  3 x 13H,  7 x 13 . . 

, .35 

it 

531 

Emblems 

. 6 x 9,  5 x 8 1/2 

, .30 

u 

532 

Twelve  various  designs. 

. .40 

t( 

533 

Four  various  designs... 

.35 

it 

534 

Monk,  6 x 17^2,  and  Corners,  5 x 5 

.40 

535 

Emblem,  6j4  x 9,  and  three  smaller  subjects,  2 y2  > 

2y2,  2y2  x sy2, 3y2  x 6 

.40 

N.  B. — The  letter  (W)  on  plates  is  meant  for  Wide. 

“ “ (D)  “ “ “ “ “ Deep  or  Long. 


38 


#502  15  x 15  IN. 


#521  8 x 16^  IN. 


39 


40 


41 


#508  17*  X 1 1LA  IN 


X 23  IN.  D, 


#513  12  IN.  D. 


#519  6 X 9 IN.  D. 


42 


#510  13  X 14  IN. 


#517  4 IN.  W.  #518  6 IN-  w- 


43 


2 H IN.  W. 


*515  6 I NW 


<514-  10  I N.  W 


44 


45 


# 524  7X  27  IN. 


UU\W\^\ 


46 


#531  5X8%  IN. 


4/ 


#529  12  X 22  IN. 


48 


2% X 5/i  IN. 


3^X6  IN. 


#!53516^  X 9 IN. 


49 


Jf  533  1 OF  NATURAL  SIZE 


50 


# 534  6 X 17^  IN. 


52 


ICtal  nf  Materials 


F.  WEBER  & CO’S  LIQUID  TAPESTRY  COLORS 

IN  GLASS  BOTTLES. 

Made  waterproof  to  prevent  their  spreading  and  no  Medium  is 
needed  to  mix  with  the  same. 


No.  No. 

1 Chrome  Yellow  11 

2 “ “ Deep  12 

3 Cadmium  Yellow  13 

4 Roman  Ochre  14 

5 Raw  Sienna  15 

6 Burnt  Sienna  16 

7 Raw  Umber  17 

8 Cassel  Earth  18 

9 Light  Red  19 

10  Vandyke  Brown  20 


Saturn  Red 
Vermilion 
Rose  Madder 
Violet  Blue 
“ Purple 
Turquoise  Blue 
Cobalt  Blue 
Ultramarine 
Prussian  Blue 
Indigo 


No. 

21  Hooker’s  Green,  No.  1 

22  Emeraude  Green 

23  Hooker’s  Green,  No.  2 

24  Olive  Green 

25  Prussian  Green 

26  Crimson  Lake 

27  Sepia 

28  Payne’s  Grey 

29  Ivory  Black 

30  Carmine 


Per  Bottle,  each,  $ .20. 
Boxes  containing  an  assortment  of  30  Colors, 


.$6.00 


TAPESTRY  OUTFIT 

Containing  6 bottles  well  selected  Colors  and  Brushes  in 


wooden  box  $1.50 

The  same,  with  12  bottles 3.00 


53 


LIST  OF  MATERIALS  (Continued) 


F.  WEBER  & CO’S  TAPESTRY  OIL  COLORS 

In  Tubes  4 x inches  and  4 x 54  inches. 

Those  marked  with  an  asterisk  (*)  are  made  in  tubes  4 x 54  inches. 

These  colors  are  specially  prepared  for  Tapestry  Painting  and 
Stenciling.  They  will  not  spread,  and  will  dry  flat  and  require  no 
extra  dryer. 


CLASS  A. 


Per  tube,  $ .12. 


Antwerp  Blue 
Brown  Ochre 
Burnt  Sienna 
“ Terra  Verte 
“ Umber 
Cremnitz  White 
Crimson  Lake* 
Emerald  Green 
Flesh  Ochre 
Indian  Red 
Indigo* 


Ivory  Black 
Lamp  Black 
Naples  Y el.,  Greenish* 
* “ “ Medium* 

“ Deep* 
New  Blue* 

Olive  Lake* 

Prussian  Blue 
Purple  Lake* 

Raw  Sienna 
“ Umber 


Scarlet  Lake* 

Silver  White 
Terre  Verte 

Transparent  Gold  Ochre 
Vandyke  Brown 
Yellow  Ochre 
Zinnober  Green,  Light* 


Zinc  Yellow* 


Medium* 

Dark* 


54 


LIST  OF  MATERIALS  ( Continued ) 


CLASS  D. 

Quadruple  Tubes,  size  6x1  inch.  Per  Tube,  $ .35. 
Cremnitz  White  Silver  White 


CLASS  F. 

In  Tubes  4 x y2  inches.  Per  Tube,  $ .20. 

Alizarin  Crimson  Delft  Blue,  No.  2,  Light  French  Vermilion 

Delft  Blue,  No.  1,  Deep  English  Vermilion  Brown  Madder 


CLASS  G. 


In  Tubes  4 

x y2  inches.  Per  Tube, 

; .35. 

Cobalt  Green,  Light 

Indian  Yellow 

Rose  Dore 

“ “ Medium 

Lemon  Yellow 

“ Madder 

“ Deep 

Madder  Lake 

Scarlet  Crap  Lake 

Emeraude  Green 

Orange  Crap  Lake 

Violet  Crap  Lake 

French  Ultramarine 
Green  Crap  Lake 

Pink  Madder 

Red  Brown  Crap  Lake 

Yellow  Crap  Lake 

CLASS  H. 

In  Tubes  4 x 

y2  inches.  Per  Tube,  $ .40. 

Cadmium  Yellow,  Light 

Cadmium  Orange  Cobalt  Violet,  Light 

“ “ Medium 

Cerulean  Blue  “ “ Deep 

“ “ Deep 

Cobalt  Blue 

55 


LIST  OF  MATERIALS  ( Continued ) 


CLASS  I. 

In  Tubes,  4 x inches.  Per  Tube,  $ .50. 

Aureolin  Cobalt  Yellow  Rose  Madder,  Deep 

Burnt  Carmine  Crap  Lake,  Extra  Deep  Violet  Carmine 

Yellow  Madder 

All  of  the  above  Colors  are  also  adapted  for  Mural  Decorating. 


TAPESTRY  PAINTING[OIL 

Especially  prepared  for  mixing  and  reducing  F.  W.  & Co.’s 
Tapestry  Oil  Colors  preventing  their  spreading  on  the  different 
fabrics.  No  extra  dryer  needed. 

Price  per  2K_ounce  Bottle,  $ .25.  Per  pint  Bottle,  $1.00. 


TAPESTRY  CANVAS 


No.  Width  Per  Yard 

2 40  inches  “School”  $ .30 

4 40  “ “Academy”  40 

6 40  “ “Duck” 1.25 

8 60  “ “Duck”  1.90 

10  40  “ Medium  grain,  cream  color 1.50 

12  60  “ “ “ “ “ 2.25 

14  84  “ “ “ “ “ 4.50 


16  120  “ Extra  heavy  and  coarse  grain,  cream  color.,  6.50 


WOOL  TAPESTRY 

Width 

40  inches  Double  facing 

50  “ “ “ 


Per  Yard 

. $3.00 
. 3.75 


Silk  Tapestry  furnished  to  order. 

56 


BURLAPS 


Best  quality,  sized  and  prepared  on  back. 


Natural  Color,  width 36  48  60  72 

Per  yard $ .60  $ .80  $1.35  $1.75 


Other  widths  of  the  Natural,  also  Colored  Burlaps  of  the  same 
quality  furnished  to  order. 

Unprepared  Burlaps  also  furnished  to  order. 

Samples  furnished  on  application. 


F.  W.  & CO’S  TAPESTRY  BRISTLE 
BRUSHES 


No.  199  Chiseled  and  Slanting  Points,  on  polished  handles. 
Specially  adapted  for  stenciling  on  fabrics,  as  the  chisel  point  is 
necessary  for  sharp  corners  and  fine  lines. 


Nos 3 6 9 12 

Inches  M Vz  Vz 

Each $ .10  $ .12  $ .14  $ .18 

Per  dozen 1.00  1.20  1.40  1.80 


57 


F.  WEBER  & CD’S  BRIGHT’S  BRISTL 
BRUSHES 


No.  193  Superfine  quality,  made  of  selected  bleached  bristles  in 
nickel-plated  ferrules,  yellow  polished  handles.  Short  bristles. 


No. 

Each 

Dozen 

2.. 

. . . . $ .07 

$ .70 

4 

08 

.80 

6 

...  .10 

.95 

8 

11 

1.10 

10 

.12 

1.20 

12 

13 

1.30 

Extra  Sizes. 

No. 

Inch 

Each 

Dozen 

14 

Vs 

...  $ .15 

$1.60 

16 

3/4 

.17 

1.80 

18 

1 3 

...  .20 

2.10 

20 

16 

Vs 

22 

2.40 

22 

1 A 

2.80 

24 

1 16 

1/8 

...  .30 

3.20 

58 


FRENCH  BRIGHT’S  BRISTLE  BRUSHES 


No.  289  In  tin  ferrules,  White  Handles,  Selected  Short  Bristles, 
Thin. 


No.  Each  Dozen 

1  $ .04  $ .44 

2  04  .47 

3  05  .49 

4  05  .52 

5  06  .55 

6  06  .58 

7  07  .62 

8  07  .66 

9  08  .70 

10  09  .75 

11  10  .81 

12 10  .88 

Extra  Sizes. 

No.  Inch  Each  Dozen 

14  5/s $ .12  $1.10 

16  Vs 14  1.30 

18  1 17  1.70 

20  1 lA 21  2.10 

22  1 XA 25  2.50 

24  \y2 30  3.10 


59 


BRISTLE  POO X A II  BRUSHES 


No.  142  For  stenciling  patterns  and  tinting.  Round,  in  tin 
ferrules,  yellow  polished  handles. 


Diameter,  inches  xV  Vs  V2 

Each $ .06  $ .08  $ .10  $ .14 

Dozen  60  .80  1.00  1.40 


OILED  STENCIL  PAPER 


36  inches  wide,  per  yard $ .20 

36  “ “ “ 10-yard  roll  1.75 


KNIVES  FOR  CUTTING  STENCILS 

With  adjustable  blades,  curved  or  straight. 


Price  of  Knife  with  either  Blade 
Separate  Blades 


60 


$ .75 
.50 


SLOYD  KNIFE  FOR  CUTTING  STENCILS 


PALETTE  KNIVES 

Straight  Blade.  Riveted  Handle. 


Length  of  Blade, 


inches 4 6 8 10  12  14 

Each $ .30  $ .45  $ .70  $1.10  $1.90  $2.50 


CANVAS  STEEL  SCRAPERS 

CURVED 


Each  $ .40  $ .55  $ .60 


PREMIER  RUBBER  ERASERS 

Single  and  double  bevel.  Red  or  Green. 


Each  Dozen 

$ .05  $ .60 

.10  1.20 


Small  size 
Large  " 


61 


“SPHINX”  INDESTRUCTIBLE  STEEL 
THUMB  TACKS 


Per  Dozen 


5390  fk  in.  diameter $ .05 

5391  H “ “ r 06 

5392  * “ “ 08 

5393  y2  “ “ 10 


Per  iuo 

$ .35 
.40 
.45 
.50 


% 


TACK  LIFTERS 


Each 

5398  Tack  Lifter,  Steel  $ .05 

5399  The  Improved  Tack  Lifter  and  Paper  Cutter  com- 
bined, Steel,  Nickel-plated  .20 


CHINA  COLOR  CUPS 

For  mixing  Tapestry  Colors. 


Diameter,  inches  . . 

2 

254 

Sheet 

3 

Dozen 

354 

Each 

. . . $ .04 

$ .07 

$ .10 

$ .15 

Per  dozen 

. . . .35 

.70 

1.00 

1.50 

62 


CARBON  OR  TRANSFER  PAPERS 


Blue,  Red,  Black,  White,  Yellow,  Green. 

Sheet  Dozen 

Size  of  sheet  18  x 23  inches.  ... $ .08  $ .60 

Black,  prepared  on  both  sides,  18  x 23  inches. . . . .15  1.20 

TRACING  PAPERS 


Sheet  Dozen 

“Apollo,”  thin  vegetable,  in  sheets. 

Demy,  size  14  x 19  inches $ .04  $ .50 

Sup.  Royal,  19  x 28^4  inches .06  .80 

Per  roll  of  20  yards,  28^  inches  wide 1.20 


BLOTTING  PAPER 

Sheet  Quire 

White,  thick,  size  19  x 24  inches $ .08  $1.50 


“APOLLO”  LEAD  PENCILS 


Hexagonal,  gold  stamped,  yellow  polished.  A superior  quality 
of  Lead  Pencil  with  all  advantages  of  the  best  manufactures.  In 
consideration  of  the  excellent  quality  and  the  extremely  low  price  at 
which  we  offer  same,  our  “Apollo”  Lead  Pencil  is  not  to  be  sur- 
passed by  any  other  manufacture  in  this  market. 

Each  Dozen 

4B,  3B,  2B,  B,  HB,  F,  H,  2H,  3H,  4H,  6H $ .05  $ .60 


AGATE  TRACERS 


Each  Dozen 


In  metal  Ferrules,  Ebony  Handle 

Pocket  Tracer,  German-Silver  Ferrules,  reversi- 
ble, for  tracing  fine  lines 


$ .20 


$2.40 

3.00 


.25 


WOODEN  PANTOGRAPHS 


For  enlarging  and  reducing  designs.  Directions  how  to  use 
the  instrument  furnished  with  every  Pantograph. 

Each 

4271  Maple  Wood,  arms  13  inches  $ .30 

4272*  White  “ “ 19  “ 50 

4273  Maple  “ “ 17  “ brass  mountings  1.00 

4274  “ “ “ 17  “ “ “ extra  fine...  1.75 


STAMPING  OUTFIT 

For  transferring  perforated  designs,  with  directions,  complete  $ .25 


GUIDE  TO  TAPESTKY  PAINTING 
AND  STENCILING 

A complete  treatise  on  Tapestry  Painting  and  Stenciling  with 
Liquid  Tapestry  Dyes  and  Tapestry  Oil  Colors,  especially  prepared 
for  this  purpose  in  a manner  to  prevent  their  spreading  on  the 
respective  fabrics.  Containing  a list  of  over  300  illustrations  of 
well-selected  and  original  designs  and  a complete  price-list  of  the 
materials  pertaining  to  this  art. 

Price  per  copy,  postpaid  $ .50 


CATALOGUE  OF  TAPESTRY  AND 
STENCIL  DESIGNS 

With  over  300  illustrations  and  a complete  list  of  materials. 
Price  postpaid  $ .10 


64 


F.  WEBER  & CO., 

MANUFACTURERS  OF 

ARTISTS’  CANVAS 

Plain  and  Ticken  Sketching,  English  Plain,  Roman,  Ticken  and  French  Absorbent 

FINELY  PREPARED  ARTISTS’  OIL  AND  VARNIShES 

RUSSELL’S  CANVAS  BOARDS, 

Academy  Boards,  Oil  Sketching  Boards  and  Paper. 

JAPANNED  TIN  BOXES,  WOODEN  PALETTES,  STUDIO  AND  SKETCHING  EASELS 

FINE  ARTISTS’  BRUSHES 

For  Oil,  China  and  Water  Color  Painting 

MOIST  WATER  COLORS 

In  Half  and  Whole  Pans,  Tubes,  Glass  Pots  and  Bottlas 

DESIGNERS’  DISTEMPER  COLORS 

WATER  COLOR  LIQUIDS  AND  INDELIBLE  DRAWING  INKS, 

Liquid  Photograph  and  Tapestry  Colors  and  Materials. 

SOFT  AND  HALF  HARD  PASTELS 

IN  OVER  500  DIFFERENT  SHADES. 

The  Philadelphia  Crayon  Sauce  in  Tin  Foil  and  Glass  Vials 

PASTEL  PAPER,  PASTEL  BOARDS  AND  PASTEL  CANVAS. 

JP-A-IPEIR.  MACRE  PLACQUES. 

ALSO  IMPORTERS  OF  AND  DEALERS  IN 

Winsor  & Newton’s  Artists’  Oil  Colors,  Brushes  and  Canvas. 

Lacroix's  and  Mvioller  C0L  Hennig  s China  Colors. 

FRENCH  PASTELS  AND  CRAYON  MATERIALS. 
DRAWING  AND  TRACING  PAPERS,  TRACING  CLOTH. 
MATHEMATICAL  INSTRUMENTS 
AND  ALL  KINDS  OF  DRAWING  UTENSILS. 

DRAWING  AND  PAINTING  STUDIES 

AND  ALL  REQUISITES  IN  THE 

Artists9  and  Drawing  Material  Line 

OF  DOMESTIC  AND  FOREIGN  MANUFACTURE. 

CATALOGUE  SENT  ON  APPLICATION. 


